Part 23

A brilliant comet appeared in the musical heavens, however, that most celebrated and most eccentric of all Italian violinists, Nicolo Paganini (1784-1839). The extraordinary power of this artist's playing could have had its source only in genius of the first order. If genius, as Michael Angelo justly said, is the power of taking infinite pains, Paganini certainly possessed it in a very high degree; for his power of concentration and perseverance were unexampled. Mere perfection of technique, however, would never have thrown the whole of musical Europe into such ecstasies. With the first notes his audience was spell-bound. There was in him--though certainly not the evil spirit suspected by the superstitious--a demoniac element, which irresistibly took hold of those that came under the sway of his tone. Moscheles, the great pianist, remarks: "His constant and daring flights, his newly discovered flageolet-tones, his gift of fusing and beautifying subjects of wholly opposite natures--all these phases of genius so completely bewildered my musical perceptions that for days afterwards my head was on fire and my brain reeled." He was no mere virtuoso. There was something in his playing that defied description or imitation; and he certainly had, in a high degree, originality and character, the two qualities which distinguish the man of genius from the man of talent.

A star of second magnitude as a violinist, but nevertheless noteworthy, was J. B. Viotti (1735-1824), who wrote many classical concertos for his instrument, but afterward gave up playing altogether. Giardini, Pugnani, Campagnoli and many others, living in various musical countries, made names for themselves as performers and composers.

As has already been remarked, Scarlatti was the principal representative in the development of the form of the clavier sonata. Scarlatti, but a few years older than J. Sebastian Bach, has the same distinguishing marks as his great contemporary. He holds himself firmly to a clearly determined form, conditioned by musical laws. The principal difference between the two composers is that Scarlatti was inclined to make the brilliant technique which he possessed as virtuoso the real object of the composition, while in the case of Bach, even in things of lesser dimensions, introspection and artistic intensity manifested themselves. Nevertheless, the flowing and dazzling manner of writing which Scarlatti possessed and which was the result of his Italian temperament, must have often served Sebastian Bach as a model. Scarlatti's form inclines more toward that of the etude than of the true sonata. It was through Baldassare Galuppi (1706-1785), a pupil of Lotti and a very talented composer, that the piano sonata received characteristic expression. In his works after the manner of Corelli and Tartini, the display and passage work appeared only as a subordinate element. In comparing Galuppi's celebrated sonata in D major with similar works of Scarlatti, we perceive the great difference between the two masters.

The sonata's greatest companion-piece, the symphony, also came into existence through the efforts of Italian musicians. The word sinfonia first appears with a very uncertain meaning. In general, it was used to mark the distinction between vocal and instrumental movements in cantatas, in sacred music, and, later, in opera. At the beginning of the seventeenth century we find the word used for the first time in large vocal works, and applied to interludes, ritornelle and preludes. This became the general custom when opera was introduced, and the short instrumental prelude was always entitled symphony. This last species of composition is, indeed, to be considered as the origin of our classical symphonic form. Not all the early operas had instrumental introductions, although Jacopo Peri himself made use of them. In his "Eurydice" there is a symphony for three flutes! Monteverde considerably enlarged the form, but seemed to find in it no characteristic expression of his ideas. At that time the form consisted of three parts, a slow movement, a quicker movement, and again a slow movement. This form of the symphony had really no artistic connection with the opera which followed, but was only a musical piece to inform the hearers that the performance was about to begin. Later, however, came works with more marked and pertinent character, which bore the names, overture and toccata. Finally, through the introduction of ballet-melodies, the symphony became of a livelier nature. At the same time, the word symphony gained more significance, and, as its inner construction kept pace with the modest beginning of the sonata form, it became visibly more artistic, more musical and of a more clearly-defined form. We early come in contact, however, with a different kind of sinfonia, invented by an Italian who had become identified with the French school. This form corresponds more nearly to the overture of the present day. Jean Baptiste Lully first used this form. It consisted of a slow, dignified movement, followed by one of light, French style, and closing with a slow movement, which, however, was of less serious character than the first.

The next manifestation of the overture form resembled still more closely our symphony of to-day, in that it began and ended with quick movements. The middle movement was an andante. It is difficult to decide which of the Italian composers first used this form. The details of the development of the separate movements were, in comparison with earlier works of similar character, more careful and more strict. Evidences of the purely musical interest in the perfection of form thus manifested themselves, and the artistic arrangement of ideas made the work much more comprehensible to the public. From its earliest day, this species of composition has borne a clearly defined resemblance to our modern orchestral works, and, under the formative influence of the multitude of composers who used it, the sinfonia italiana made rapid progress towards perfection. By the beginning of the eighteenth century there was that unanimity of ideas among composers which indicates that a musical form exists as an independent thing. We find perhaps the best specimens of these "symphonies" in the overtures to "Catone in Utica" by Lionardo da Vinci and to "Il Mondo alla Riversa" by Galuppi, the latter of which was given one year before Joseph Haydn wrote his first symphony. Another excellent specimen is the overture to the "Bidone" of Piccinni; and, indeed, we find the form in use by Mozart in his first attempt at opera, "La Finta Semplice."

Contemporaneously with the sinfonia there were cultivated, especially in Germany by Bach and Handel, two other art forms of orchestral character: the suite and the concerto grosso. The former was a succession of loosely connected dance movements, such as allemande, courante, gavotte, bourree, passacaglia, passepied, sarabande, etc. The concerto grosso was a species of enlarged sonata for orchestra, which, by means of incidental solos for separate instruments, afforded the various players opportunity to give evidence of their abilities as soloists. Handel wrote many such concertos. These two forms, combined with the technical and musical development of the sinfonia italiana, congealed finally into the form of our classic symphony. The honor of having first given the stamp to this form falls to Sammartini, a Milanese conductor. His symphonies had three separate movements: allegro, andante, allegro. Haydn took Sammartini as a model in everything. He perfected the symphony by bringing the instrumental development to really artistic significance, and by adding another movement, the minuet. Contemporaries of Haydn, Stamitz, Wagenseil, Emanuel Bach, had also attempted the composition of symphonies after the model of Sammartini; but none of them reached the degree of excellence attained by Haydn, although their works, in certain technical respects, were not without influence on Haydn's style.

With the exception of Boccherini and Cherubini, scarcely a single prominent Italian composer gave any attention to the composition of symphonies. This might naturally be expected in view of the enormous popularity of operatic and vocal music. It was not until the later decades of the nineteenth century that certain more or less successful attempts were made by Italians in this field of composition. The two composers who have gained greatest honor in this connection have been the Roman Sgambati, a pupil of Liszt, and the excellent Neapolitan musician, Martucci, at present director of the conservatory in Bologna. Both these artists have composed symphonic works of a high order of merit. It is hardly to be expected, however, that the Italians will ever make lasting contributions to a species of composition so wholly foreign to the natural tendencies of their national character.

But let us resume the record of things operatic in Italy. It will be remembered that we traced the growth of the opera from its beginning under the hand of Peri, through its development by Scarlatti, Legrenzi, Logroscino, Jomelli, Pergolesi, Salieri and Piccinni, its ennoblement by Gluck, on to its perfection as a purely Italian production, through the genius of Cimarosa. The last-named composer invested his works with a charm which has never been surpassed, and glorified its outward form with a symmetrical grace which raises his compositions more nearly than those of any other composer to the height of Mozart.

We have now to mention another great Italian master of the age, who, though belonging chronologically to a group which we will discuss later, may properly be mentioned here, as he forms the last link of the chain of composers of the Neapolitan school. We refer to Luigi Carlo Z. S. Cherubini. As he, however, passed so many of his active years in France, it is impossible to think of him apart from the country of his adoption. A special article concerning this great master by Dr. Philipp Spitta, will be found on page ninety-three of this work.

Among the other Italian composers of the same period who devoted themselves to the cultivation of French grand opera, and opera comique, are the following: A. M. G. Sacchini (1734-1786) settled in Paris about 1784. Under the patronage of Queen Marie Antoinette, he brought out two of his Italian operas, "Rinaldi" and "Il gran Cid."

Ferdinando Paër (1771-1839) lived in Italy, Dresden, Vienna and Paris. In the last-named city he succeeded Spontini as the director of the Opera Italien. His most popular work was "Agnese."

Michele Caraffa (1785-1864) studied at Paris under Cherubini. His best operas are "Masaniello," not to be confounded with Auber's popular opera of the same name, and "La prison d'Edimbourg."

Gasparo Luigi Pacifico Spontini (1774-1851), after having written some unimportant operas in Italy, settled at Paris in 1803. In 1807 his masterpiece, "La Vestale," with which he won the great state-prize of 10,000 francs, was produced at the Academie Nationale with brilliant and well-merited success. His next opera, "Fernando Cortez" (1809), was received with still greater enthusiasm. Bitterly disappointed by the failure of his third opera, "Olympia" (1819), he accepted a permanent engagement offered by King Frederic William III. of Prussia. At Berlin his operas in a revised form were given at the Royal Opera with great success, and "Olympia" thus had its artistic rehabilitation. Some weeks later--the 18th of June, 1821--the first performance of Weber's "Freischütz" took place at the same theatre, and its unheard-of success was gall and bitterness to Spontini, whose jealous temper could brook the presence of no possible rival. Accordingly he tried, by every means that lay within his power, to crush the gifted composer, whom he chose to regard as his personal enemy; but of course the "Freischütz" and its author were unassailable. Spontini afterwards wrote "Nurmahal," "Alcidor," and, in 1827, "Agnes von Hohenstaufen." The performance of the latter began a long series of personal attacks in which Spontini defended himself ably, but which made his life in Berlin unpleasant. His second term of ten years ended about the time of the king's death, in 1840, and two years later he returned to Paris. He died in 1851, at his birthplace, Majolati, in Italy, to whose poor, with that of Jesi, he left his money.

Several lesser lights of the same epoch are worthy of mention. Valentino Fioravanti (1770-1837), who wrote "Le cantatrice villane," a delightful opera buffa. This work was held for a long time in high esteem. Giovanni Piccinni (1796-1867) wrote a large number of operas, among which the best known are "Tasso" and "Nicolo de' Lapi." Saverio Mercadante (1797-1870) was one of the best and most learned composers of the Italian school, whom at the beginning of his musical career they used to call "Il Beethoven italiano." His first work, a cantata for the Teatro del Fondo (1818), was followed by another, "L'Apoteosi d'Ercole," produced at San Carlo (1819) with extraordinary success. In the same year he produced his first opera buffa, "Violenza e costanza," and after this came several serious operas, of which "Elisa e Claudio" (Milan, 1822) was the most successful. From this period Mercadante steadily maintained his reputation as an operatic writer, and the verdict of Italy in his favor was endorsed by Vienna in 1824. He passed the years 1827 and 1828 in Madrid, 1829 in Cadiz, and in 1831 returned to Naples. In 1833 he became Generali's successor as chapel-master at the cathedral of Novara. In 1836 he composed and superintended the production of "I Briganti" in Paris. But the two operas with which he made a decided hit were: "Il Giuramento" (Milan, 1837) and "Il Bravo" (Naples, 1838); both had long and successful runs in the most important theatres. In the opera buffa, "I due illustri rivali," he changed his style, working the accents strongly with the brass instruments. In this respect he set an example which unfortunately has been widely followed, for the continued and injudicious use of the brass instruments in the orchestra led a great many of Italian operatic composers to ruin. In 1840 he became director of the conservatory at Naples, a position which he held up to his death (1870). Though he lost an eye when at Novara, he continued to compose by dictation; but he became totally blind in 1862. His influence with regard to sensible musical development, especially in the dramatic scenes and recitatives of opera, has been undoubtedly a great one, and we owe it to him alone, if since his appearance Italian composers no longer adhere to poor accompaniments and insignificant musical phrasing.

Of Luigi Ricci (1805-1859) and his brother Federigo (1809-1877) it is scarcely necessary to speak, although their opera "Crispino e la Comare" has been given in all the principal theatres of Europe and America.

The brilliant period of Bellini, Donizetti and Rossini is linked with the present by the life-work of one who was their contemporary, and is also still with us, Verdi, the Nestor of all living Italian musicians. Born in 1814, the author of "Ernani," "Il Trovatore," "La Traviata," "Rigoletto," "Un ballo in maschera," "Aïda," "Otello" and "Falstaff" may be regarded as the most successful and most talented of Italian composers of the present time. The variety of styles in which he has written operas shows the breadth of his genius, and his Requiem Mass, written in memory of the great Italian poet, Alessandro Manzoni, is a sacred work of great dramatic power. Full details concerning his life and work will be found in the special article devoted to him.

Quite a number of second rate composers, whose names, however, have to be mentioned for the sake of completeness, appear now on the horizon. Some of these were able to please their contemporaries for a considerable length of time. First of all, and to be thought of in intimate connection with Mercadante, is Lauro Rossi. He was director of the conservatory at Milan, and afterwards at Naples, and retired finally to his native place Macerata. He wrote many opere buffe, among which, "Il Domino Nero" and "La Figlia di Figaro" were very popular. His last work, of more ambitious character, was "La Contessa di Mons" (libretto after Sardou), which met with an uncertain success.

Besides him, Enrico Petrella and Antonio Cagnoni are to be placed. The former, a genuine Neapolitan in the truest sense of the word, a musical "lazzarone" without much refinement, but full of the "frase italiana," wrote a large number of operas, some of them winning the greatest popularity. Cagnoni is on a higher level as a composer, but cannot be numbered among the stars of first magnitude. He wrote most of his operas for a great and popular Italian artist, the famous basso-cantante, Alessandro Bottero. This singer's ability was quite unique, and it is very probable that now when he is no more, Cagnoni's operas also will soon be forgotten. Chief among his works are "Papa Martin," "Michele Perrin," "Don Bucefalo," all of which enjoyed immense popularity. He also composed "Claudia," "Francesco da Rimini." Some of his operas are in the true buffo style, while the others are in the semi-serio.

Of the younger school of Italian operatic composers, we have to mention three names particularly: Arrigo Boito, Amilcare Ponchielli and Carlos Gomez. The last named is a Brazilian by birth, but he studied at the conservatory at Milan, and his operas have been brought out at Italian theatres. We may therefore include his name among Italian composers. As there is a special article in this work dealing with Arrigo Boito, we need only mention the great influence his appearance has had upon the development of modern Italian opera. He has produced only one work, "Mefistofele." His methods in dramatic music are striking and convincing. In spite of his earnestness of purpose, his work does not lack in popularity and power, and one is scarcely surprised at the fact of its immense success wherever it has been performed.

Quite a clique of "avveniristi" (futurists, or followers of Wagner), chiefly composed of the very best national talent, suddenly sprang up and sought to introduce the new art and the ideas of the German prophet. The nation at large did not sympathize with these proceedings. Many thought that such a movement threatened detriment to Italian art. Hence, they longed for a great national operatic composer and hailed with delight and enthusiasm the appearance of Amilcare Ponchielli, who brought with him everything which was demanded by the conservative party. The peculiar story of this composer should be briefly told. Born at Cremona, he became a pupil at the conservatory at Milan, together with Cagnoni and Boito. He distinguished himself greatly by writing a beautiful cantata for the graduation exercises, and everybody regarded him as the pride of the institution. Of course, his chief aim was to write an opera; and, lacking money to pay for a text by a well known author, he found an obscure poet who willingly arranged a libretto out of Manzoni's celebrated novel: "I promessi sposi" (The Betrothed). The opera when produced was a complete failure, and poor Ponchielli was only too glad to accept the position of band-master in a wretched village near Cremona, where he had leisure to meditate on the fortunes of operatic composition. Nothing was heard of him for many years. He was supposed to be writing marches and transcriptions of operas for his own band. Suddenly, after twenty years, an unknown benefactor offered him the means to give the same opera again, but thoroughly revised and elaborated, at the Teatro dal Verme in Milan. The success, of which the writer happened to be a witness, was immense, and at the same time was not without spontaneity. The Italianissimi found in this opera all they desired: a rich vein of melody, strong dramatic accents, and the whole machinery of the Italian stage action of former times. Ponchielli was at once placed beside Verdi. Up to his untimely death in 1882, he produced several other operas, which, however, with a single exception, did not meet with genuine success. The titles were: "I Lituani," "Il figliuol prodigo," "Gioconda" and "Marion Delorme." He also wrote some graceful and sparkling music to a ballet, "Le due Gemelle" (The Twins).

Carlos A. Gomez is quite opposite in type and style. The late emperor of Brazil took a special interest in the promising boy, and sent him in 1865 to Italy, that he might pursue his musical studies. He was a pupil of Lauro Rossi and Mazzuccato, both directors of the conservatory at Milan. This native of Brazil was full of ideas of exotic flavor, and he selected for his opera a plot which gave him ample opportunity to display his racy, national talent. His first opera, "Guarany," deals with a Peruvian story, and the most happy numbers in it are those where Aimorè, king of the Aztecs, and his followers appear on the stage. Gomez in these fragments simply outdoes Meyerbeer in his "Africana," which hitherto has been considered the acme of savage music. Although delightfully successful in this respect the composer was not able to make the rest of his opera of equal merit. The work had only a comparatively short run. Gomez's succeeding operas, far better in musical workmanship, "Fosca" and "Maria Tudor," were failures, but a third, lighter in character, "Salvator Rosa," was a great success, and contains many sparkling and bright numbers, among them the celebrated song, "Mia Piccerella." His last opera, "Condor," given a short time ago at La Scala, did not fulfil the expectations that were formed regarding it. Gomez went several times to Brazil, where all his operas were given. He was a pensionnaire of the late emperor Dom Pedro, who gave him annually, up to the time of his dethronement, 10,000 francs out of his private purse.

Filippo Marchetti, another modern composer, was very fortunate with his "Ruy Blas" (after Victor Hugo). This opera had one of the longest runs on record, and by royalty from it alone Marchetti soon became a very wealthy man. His other works, "Giulietta e Romeo," "Gustave Wasa" and "Don Juan d'Austria," were dismal failures and of no special physiognomy whatever. Marchetti, a favorite of the queen of Italy, is now president of the Accademia di S. Cecilia in Rome.

Bottesini, the celebrated double bass virtuoso, belongs also to this group of composers. His first opera, "Ali Baba," was very successful when given, but did not maintain itself in public favor. "Ero e Leandro," a second opera of his, did not prove a great success.

Of the younger generation we have to mention Coronaro, who wrote "La creola," and who is now professor of composition at the conservatory in Milan. His younger brother, living in Vicenza, was the winner in a late competition for the Sonzogno prizes, which, as everybody knows, brought Mascagni from obscurity to celebrity.

Alfredo Catalani is one of the most gifted and remarkable Italian composers of this period. His musical and general culture is refined in the highest degree. He was a pupil, first, of Bazin in Paris, and afterward, strange coincidence of names, of Bazzini, in Milan. He gave his operas chiefly at Milan (La Scala) or Turin (Teatro Regio). The best among them are "Dejanice" and "Wally," which, however, were not very popular with the public. But Catalani is by far the best musician among all the living Italian opera composers.